Even as to colour we find either the gilded wood brown or the
stone grey, quite as frequently as gayer colours, and much more so than
any natural green. The after-fashion for grisailles or _camaieu gris_
has reference probably rather to stained glass than to carving. Before
the fifteenth century we do not often meet with individual illuminators
by name, but in the Limburg Chronicle under 1380 is this entry: "There
was at this time in Cologne a celebrated painter (he was probably a
native of Herle in Limburg), the like of whom was not in the whole of
Christendom," and more to his praise. His name was Wilhelm. In the
municipal expense book, under 1370-90, page 12, is written, "To Master
Wilhelm for painting the Oath Book, 9 marks." The Oath Book still
exists, but unfortunately the miniature has been cut out.[53]
[53] Woltmann, _Hist. of Painting_, Eng. transl., i. p. 412.
Of course, it may be expected that some of the best examples of
Netherlandish illumination are to be found in the Royal Library at
Brussels. The _Biblioth?que de Bourgogne_, as it is called, contains,
indeed, a great number of them. Some, of course, may be classed as
Burgundian. There are, for instance, the grand "Chroniques de Hainaut"
in three immense folio volumes, written from 1446 to 1449 (Nos.
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